Opera Philadelphia Paints La Bohème Love Story at the Academy of Music in Philadelphia

Words on the street, blowin’ in the wind.

Story, photos by Sharon Kozden (performance photos courtesy of Steven Pisano for Opera Philadelphia)

“I have so many things that I want to say to you
Or just one, but it’s as big as the sea
As deep and infinite as the sea …
You are my love and my whole life!”  – La bohème, Act IV finale

I can’t be the only one who has noticed that Opera Philadelphia‘s presence has been pervading the Philly scene. Locations, locations, locations … all teeming with operatic events and productions.

There they were at the Academy of Music during late April and early May, reviving Davide Livermore’s 2012 production of Giacomo Puccini’s classic La bohème, the moving love story that plays out in dramatic “nothing gold can stay” fashion. Opera Philadelphia’s production of the Italian opera in four acts introduced some incredible break-out performances from two arguably unlikely albeit bonafide stars, the Barnes Foundation and the Philadelphia Museum of Art, both of which partnered with Opera Philadelphia, allowing French Impressionist paintings from their respective collections to be reimagined onstage in artistically innovative fashion. Picture said paintings in the spotlight, hanging jumbo-sized in sectionalized video screens and seemingly magically alive. They hover over the opening café scene beneath filled with a gathering of Parisian bohemian artists, circa the 1890’s.

I attended a Sunday matinee performance and was absolutely riveted by everything about the production. Each scene, from the get-go’s Christmas Eve meeting in a Latin Quarter garret between poet Rodolfo, painter Marcello and two others as they resort to burning Rodolfo’s manuscript to ward off frigid temperatures (while also attempting to hoodwink a landlord who’d come to collect overdue rent) to the theatrics in Act II (involving a stilt walker along with a more bang-for-your-buck fireworks and circus-like atmosphere) to the final two acts highlighting the love affair between seamstress Mimi and Rodolfo as Mimi’s foreshadowed early on illness snowballs before reaching its inevitable tragic denouement, was exceptionally portrayed and delivered by cast, orchestra and conductor.

As an opera-attending newbie, having seen but a single prior show (Opera Philadelphia’s version of Bizet’s Carmen), I haven’t much experience with the art that is essentially a narrative set to music and told through set-staging and song via script (libretto). That stated, I know what I like and tend to fall asleep during that (opera or otherwise) which doesn’t appeal to me. A highly sensitive person, I tend to respond enthusiastically to opera, it being rife with drama, emotion, romance and passion in oft-extravagant degree. If any opera was going to appeal to my romantic nature, La bohème was it. Soaring arias and sensory-pleasing, luxurious melodies held me captive throughout.

The character of the poet Rodolfo, tender and love-struck, was brought to life by tenor Evan Leroy Johnson, who played to soprano Vanessa Vasquez’s company debut as Mimi. Johnson made his own company debut when playing Don Jose in Opera Philadelphia’s Carmen. Vasquez’s vocals are mesmerizing in their lush and earthy warmth. Johnson’s mix strength and touching vulnerability. The main six Boho players are all fabulous in their respective roles. Supporting the ill-fated central twosome of poet Rodolfo and seamstress Mimi are Troy Cook as Marcello, Ashley Marie Robillard as Musetta, Will Liverman as musician Schaunard and Peixin Chen as philosopher Colline. This production was elevated to the paintings’ largesse on all musical levels … stirring and electrifying vocals, orchestral perfection by expert Opera Philadelphia musicians under expert direction by conductor Corrado Rovaris (Jack Mulroney Music Director) and a stirring performance by the Philadelphia Boys Choir & Chorale and the Philadelphia Girls Choir.

An intermission reception was held in the Academy of Music Ballroom. Within the magnificent room hung with exquisite chandeliers, attendees mingled at small tables arranged throughout, while enjoying flutes of champagne or glasses of white wine along with some sweet nibbles courtesy of Garces Catering. The reception also provided a perfect opportunity for leg-stretching in the beautifully staged area replete with floral bouquets bursting with sunflowers that complemented those in the onstage paintings.

And speaking of set staging, Davide Livermore not only had the impressive role as the production’s director; he also was responsible for set and costume design. It was the Italian design company D-Wok Audiovisual that can take ample credit for illuminating in animated detail the turn-of-the 20th century masterpieces by painters such as Van Gogh, Monet, Renoir and others.

While the character of Mimi, who was sickly from the get-go before rather rapidly and ultimately succumbing, the opposite was true for Opera Philadelphia’s La bohème, which and unlike Mimi, was very much alive after a season finale performance at the Academy of Music. For one evening on September 14th, Puccini’s revival took to the park, namely at Independence National Historical Park for Opera Philadelphia’s 9th annual Opera on the Mall with a free-to-all showing. The notion of bringing opera to the masses sans even a cover charge aligns with the company’s mission. According to their web site, Opera Philadelphia aims to “deliver outstanding productions of traditional and new repertoire that engage our public and propel our genre forward; to identify extraordinary artists, both established and emerging, and provide opportunities for them to create their most imaginative and inspired work; and to present innovative programming relevant to the multi-cultural Philadelphia region that broadens and diversifies the opera audience.”

I was not exaggerating when stating that Opera Philadelphia’s presence in the city was rather unmistakable, for the en plein air iteration of La bohème was followed by Festival O, a mélange of innovative and progressive productions and events that played out in various city locations during September 18th through the 29th, including the Academy of Music (Prokofiev’s The Love for Three Oranges) and the Perelman Theater of the Kimmel Center (Semele).  The Festival 019 Celebration also was held at the Academy of Music; it celebrated 20 stellar Maestro Rovaris-helmed years with Opera Philadelphia. Festival O19, in its third annual staging, further expounded the company’s mission and more than met its intent (as noted on their web site) to “deliver outstanding productions of traditional and new repertoire that engage our public and propel our genre forward; to identify extraordinary artists, both established and emerging, and provide opportunities for them to create their most imaginative and inspired work; and to present innovative programming relevant to the multi-cultural Philadelphia region that broadens and diversifies the opera audience.”

Attendees arrive at the Academy of Music for an afternoon matinee.

A historical rendering illustrates the Academy as it appeared back in the day.

The interior of the Academy of Music will take your breath away with its magnificence.

For me, there’s no perusing a show’s program when surrounded by such lush, ornate eye candy.

So this is what it’s like to see the light from on high.

From Left, Opera Philadelphia volunteer Vincent Tavani with Sharon Kozden. Tavani is the “Poet for Hire” seen at many events.

Soprano Vanessa Vasquez (Mimi) is surrounded and comforted as she gradually fades away.

Evan LeRoy Johnson and Vanessa Vasquez are positively gripping in their respective roles.

Vanessa Vasquez (Mimi) emotes.

Troy Cook (Marcello) strikes a sharp and rough contrast from the delicate-appearing ballerinas.

Mementos for the memory box include a coveted intermission reception ticket.

The intermission reception that offered wine, bubby and bite-sized sweet treats was staged in this grand and stately ballroom.

Floral displays are always a welcome and lovely accent. Sunflowers are so Van Gogh.

Intermission reception guests were treated to a choice of champagne, white wine … or both.

Charming dessert bites hit the spot prior to the production resuming.

This quartet was gracious enough to pause for a pose during the intermission festivities.

At right is General Director & President Opera Philadelphia David B. Devan.

From Left, Vice President of Marketing & Communications Opera Philadelphia Frank Luzi poses with Sharon Kozden.

Faces in the audience pause for a pose while getting in a leg stretch during intermission.

A scene at Café Momus on one starry night.

Vanessa Vasquez (Mimi) and Evan LeRoy Johnson (Rodolfo) lock eyes in a look of love.

Will Liverman (Schaunard) projects his powerful baritone from center stage.

Evan LeRoy Johnson and Troy Cook perform before Claude Monet’s art emblazoned on panels.

Check out operaphila.org for a taster of what’s in store for 2020’s series at the Academy of Music. I snuck a peek. Trust me, you’ll want to visit the site sooner rather than later. And you’re welcome!